Posts Tagged ‘2000s’

Žižek! (2005)

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Slavoj admires a staircase.

Slavoj admires a staircase.

According to the cover of Žižek!, Slovenian philosopher and psychologist Slavoj Žižek is “the Elvis of cultural theory,” and the film itself certainly seems to agree. Director Astra Taylor follows Žižek around the world (well, to Slovenia, New York, and Buenos Aires), as he lectures, gives interviews, and jokes around about his cultural theories. This is interspersed with graphics and archive footage, and with scenes of Žižek doing everyday things — talking with his son, eating dinner, buying DVDs.

And since Žižek is a charming man and fun to listen to, it’s rather an enjoyable journey, and the film manages some insights in his works. The problem is that there just isn’t enough time to fully explore or explain his ideas, and the film has an annoying tendency of leaving things unexplained so that it can cut to another clip of Žižek making jokes.

Inspector Morse

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The comedy stylings of Lewis and Morse.

The comedy stylings of Lewis and Morse.

Series 1

The Dead of Jericho (6 January 1987)

Written by Anthony Minghella (based on Colin Dexter’s novel). Directed by Alastair Reid.

Morse (John Thaw) meets a woman, Ann Staveley (Gemma Jones), in his choir. When she’s found dead of an apparent suicide, Morse suspects murder and, with the help of Sergeant Lewis (Kevin Whately), sets out to prove it.

Like most Morses, the plot in this début tends toward meandering a bit and, really, that’s the way it should be. Thaw is fantastic, as usual, and Minghella’s script captures the melancholy of Dexter’s novels well. Reid’s directing does the job just fine, though the 16mm grain does grate a bit. It’s amazing they got their eye in so quick.

The Pervert’s Guide to Cinema (2006)

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Cinema is the ultimate pervert art; it doesn’t give you what you desire, it tells you how to desire.

You know, I don't remember Melanie having a beard.

You know, I don't remember Melanie having a beard.

In the wonderfully titled Pervert’s Guide to Cinema Slovenian sociologist, psychologist, and philosopher Slavoj Žižek looks at cinema, represented by a great number of disparate films, through Lacanian psychoanalysis. Divided in three parts, the film uses a kind of stream-of-consciousness structure, flowing from one subject to the next seemingly on Žižek’s whim. Director Fiennes uses the clever conceit of having Žižek appear on the locations or replicas of sets of the films he discusses — when he discusses The Birds he’s in Bodega Bay, when he discusses Psycho he’s in Norman Bates’s cellar, et c. — furthering Žižek idea that cinema at its purest is concerned with elevating reality to the realm of the magical; Žižek makes himself into a character in the films he’s discussing, fictionalising himself. As Žižek says, the choice between the blue pill and the red pill, between fiction and reality, is a false dilemma — fiction is reality.

Watchmen (2009)

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Silhouette celebrates Japan's surrender the old fashioned way.

Silhouette celebrates Japan's surrender the old fashioned way.

Zack Snyder’s feature film debut, Dawn of the Dead (2004), had a kinetic, visually exciting opening sequence, but the rest of the film was fairly pointless. His second film, 300, was all flash and no substance, and, frankly, I found it a bit boring. And now, he’s tasked with bringing the Tristram Shandy of comic books, Alan Moore’s Watchmen (1986-7), to the silver screen. So, a comic book by a wizard, adapted by Solid Snake, and directed by a man who made his name with a zombie film remake. If that isn’t the definition of the post-modern condition, I don’t know what is; the creators are mash-up of pop-culture mythology.

The Die Hard Tetralogy

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Die Hard (1988)


John McClane (Bruce Willis) is at an office Christmas party when the building is taken over by terrorist. One of the best action films of all time. Bruce Willis is superb as the prototypical American hero, and Alan Rickman hams it up as the “terrorist” leader. It’s the film that pretty much created the modern action film, and it’s sure a fun ride.
Rating: ★★★★☆

Die Hard 2: Die Harder (1990)


Or: Die Hard in an airport. Follows the Aliens dictum for sequels: if you can’t make it better, make it louder. And it’s certainly action-packed, but it’s let down by the ludicrous plot and the sometimes headache-inducing editing. Still, it’s fun to watch Bruce Willis reenact the American Monomyth again, and Harlin does know how to shoot an explosion.
Rating: ★★½☆☆

Die Hard with a Vengeance (1995)


This time, Willis gets some help from Samuel L. Jackson as they play a deadly game of Simon Says all over New York City. Even dumber than Die Harder, but the action set-pieces are still fun to watch and the Willis/Jackson dynamic is all right once they get past the initial idiocy and settle into the film.
Rating: ★★☆☆☆

Life Free or Die Hard (2007)


As is customary for Die Hard sequels, Live Free or Die Hard (worst title yet, and the rest-of-the-world version, Die Hard 4.0, isn’t much better) is dumb but fun. It’s basically a series of effects sequences strung together by something that is almost but not entirely unlike an intelligent plot.
Rating: ★★½☆☆

Overall Rating: ★★★☆☆

Inland Empire (2006)

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This is a story that happened yesterday. But I know it’s tomorrow.

Nikki Grace (Laura Dern) relaxes at home.

Nikki Grace (Laura Dern) relaxes at home.

Shot on the cheap on digital video, Inland Empire was filmed without a complete script, and Lynch instead mostly made it up as they went along. Amazingly, this somehow works — fragmented, but still with a general, thematic cohesion. It stars Laura Dern as Nikki Grace, an actress who has just gotten the role of her life. The film they’re shooting, On High In Blue Tomorrows, starts bleeding into reality, and the nature of reality and fiction become even more confused when it turns out the On High is a remake of an old Polish play, 47, rumoured to be cursed.

May (2002)

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Canady girls start training for a life of piracy at an early age.

Canady girls start training for a life of piracy at an early age.

May Dove Canady (Angela Bettis) had an isolated childhood with only one real friend: Suzy, a doll in glass case. As her mother told her, “If you can’t find a friend, make one.” She works in a veterinary hospital with Polly (Anna Faris), who seems attracted to May but makes fun of her weirdness. Then one day she meets Adam (Jeremy Sisto), a mechanic who claims to “like weird.”

All May really wants is to fit in, to connect to someone, but the more she tries, the more put off people are by her; it’s ironic that she’s most conventionally attractive once she stops pretending to be “normal” and just turns all the crazy dials to eleven (the oddly anachronistic slang is a touch of genius, by the way).

Lady Vengeance (2005)

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Lee Geum-ja

Do like my eye shadow? It's modelled on an SAS balaclava.

Lady Vengeance is the third and final instalment in Park Chan-wook’s Vengeance Trilogy. I haven’t seen the previous parts — Sympathy for Mr. Vengeance (2002) and Oldboy (2003) — so I will be reviewing this as if it stood alone.

After a gorgeous credits sequence, featuring Vivaldi’s “Ah ch’infelice sempre” — oh, how I love a good harpsichord —, we are introduced to Lee Geum-ja (Lee Young Ae), who has spent the last thirteen years in prison after being forced to confess to the murder of a young boy. The real murderer, Mr. Baek (Choi Min-sik), kidnapped Geum-ja’s daughter to make her confess, and now she wants revenge.